Change in U.S. distributor for Shakespeare’s Globe & National Theatre


The Shakespeare Conference: SHK 23.0433  Friday, 26 October 2012


From:        Patty Winter <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         October 24, 2012 5:36:35 PM EDT

Subject:     Change in U.S. distributor for Shakespeare’s Globe & National Theatre


Shakespeare’s Globe and the National Theatre have both recently changed U.S. distributors for their cinema broadcasts. If, like me, you have lost access to one or both film series because of those changes, please keep reading . . . .


The National Theatre has a cinecast of “Timon of Athens” coming up next week (Nov. 1). Those of us in the San Francisco Bay Area who want to see it will have to drive to SF or Berkeley. Previously, there were also theaters in all the other Bay Area counties that carried NT Live.


The situation is even worse for Shakespeare’s Globe: the nearest screenings to us now are in Southern California. So much for this year’s films of “All’s Well,” “Much Ado,” and “Doctor Faustus” . . . .


If you have been negatively affected by these changes, here are the relevant websites to view more information and contact the companies involved:

(venue list) (venue list)


Please pass this information along to anyone else you know who might want to express their feelings about the situation.



Two More Titles at the Blackfriars Playhouse this Fall


The Shakespeare Conference: SHK 23.0432  Friday, 26 October 2012


From:        American Shakespeare Center <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         Oct 24, 2012 1:22 PM

Subject:     Two More Titles at the Blackfriars Playhouse this Fall


Two More Titles at the Blackfriars Playhouse this Fall


Five shows just aren’t enough this Fall, so ASC Education’s Staged Reading Series brings two more Early Modern plays to the Blackfriars Playhouse. Regional actors come together, scripts in hand, to perform lesser known works.


Edmund Ironside by Anonymous

Sunday, October 28, 2012

Directed by Dane Leasure


King Edmund II liberates the English from foreign rule in this exhilarating ride full of violent energy and inventive language. 


An Humorous Day’s Mirth by George Chapman

Sunday, November 4, 2012

Presented by the 2012/13 MBC MFA Company, Roving Shakespeare


Jealous husbands, absurd courtiers, failing Puritans, and lustful monarchs collide in this pun-filled comedy of manners.


These staged readings begin at 7:30 p.m., with pre-show workshops beginning at 7:00 p.m. 


Pay What You Will, suggested donation $5.  

Cambridge University Press iPad Apps


The Shakespeare Conference: SHK 23.0431  Friday, 26 October 2012


From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         Friday, October 26, 2012

Subject:    Cambridge University Press iPad Apps


On Tuesday, Cambridge University Press will be launching its Shakespeare’s Historic Plays on the iPad at an invitation-only event at the Royal Academy of Dramatic Arts in London (RADA). 


Details have not been released to my knowledge, but I assume the History Plays will join the recently released, October 11th, 2012, iPad apps Macbeth: Explore Shakespeare and Romeo and Juliet: Explore Shakespeare that are currently available in the Apple Apps Store (£9.99 in the UK and $13.99 in the US).


The invitation I received last week reads as follows:


“The official launch of our new Shakespeare app at the Royal Academy of Dramatic Arts (RADA) is now just one week away. Experts will be on hand to run through the exciting features of the app, and you will even have the unique opportunity to try out your favourite characters in an acting lesson from the trained professionals at RADA! Not to mention there will be plenty of drinks and nibbles.”


Of the Macbeth and Romeo and Juliet apps already released, CUP boasts, “Students getting to grips with two of Shakespeare’s most famous plays have a new option to boost their knowledge: Cambridge University Press’ Explore Shakespeare apps.”


The Macbeth: Explore Shakespeare and Romeo and Juliet: Explore Shakespeare “include the text, photos of professional performances, glossary definitions, notes and plot summaries, as well as audio performances including actors like Fiona Shaw, Michael Sheen and Kate Beckinsdale.” / “The apps also use word clouds, a themeline and character circles to dig deeper into the plays, as well as an option to separate sections of the play by character – ‘perfect for learning your lines, or for studying a particular character’s story’.” / “Cambridge University Press teamed up with developer Agant to make the apps.”


I have been exploring Shakespeare The Tempest from Luminary Digital Media and the Sonnets by William Shakespeare app from Arden, Faber and Faber, and Touch Press. Both are excellent. However, because I am working on the Poems and because I have a co-edited electronic edition of the Shake-speares Sonnets (1609) <> that was used as “Live Text” in the Octavo release, I have spent more time with the Sonnets app; it has far exceed my expectations: Cf. .


I welcome reactions, reviews, and so on about this increasingly numerous group of iPad apps.


Sorry, Thanks, and Faster Hosting


The Shakespeare Conference: SHK 23.0430  Friday, 26 October 2012


From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         Friday, October 26, 2012

Subject:     Sorry, Thanks, and Faster Hosting 


Sorry, folks. I had a recall for hard drive in my iMac and because my hard drive had already failed I thought the chances of having to have the replacement were small so I did not scrupulously check my backup. Well, you can guess. I had to have hard drive replaced and my clone failed to boot, so . . .  Well, I am still recovering and apologize to those who have submitted and have been waiting to see your submissions posted.


Once again, let me thank all who wrote to me after my “moment of doubt.” I simply so not have time to reply to everyone but be assured I have read your message and you have my sincere thanks. 


As always, I gladly look forward to any private correspondences about anything related to SHAKSPER, either the mailings or the web site.


Also, I am pleased to announce that Ron Severdia founder of and designer and host of new SHAKSPER web site has upgraded the server that hosts SHAKSPER. It is a noticeably faster machine. I encourage all who are interested to take the web site for a spin. You might want to try a search of the archives during your test drive.


Best wishes,


LEAR 5.3


The Shakespeare Conference: SHK 23.0429  Monday, 22 October 2012


From:        Steve Urkowitz <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         October 21, 2012 9:46:04 PM EDT

Subject:     Re: LEAR 5.3


Let me return to an unfinished bit o’ thread that just grew to a point where I can talk about it. We were disputing around the last scene in LEAR where the line “Save him, save him” happens immediately after Edgar has mortally wounded Edmund. The Oxford / Norton texts produced by what I’ve come to think of as The Little Rascals of Shakespearean Textual Scholarship take the speech from Albany and give it instead to ALL, like, say, Albany and Goneril and the Herald and the soldier(s) needed in a moment to go out after Goneril (if it is not the Herald who chases ineffectively after her) and who else? 


I was indeed surprised when I saw this ALL speech prefix, since Q and F both read, clear as clear can be, “Alb.”


When I checked in the Textual Companion to the Oxford Shakespeare, the coy reference given sends one to Blayney, and then one finds that the cited Blayney work must be The Texts of King Lear and their Origins. So through Interlibrary Loan I got hold of Peter’s magnificent book. And then I spent quite a while with his index, trying to find where he discussed his bold choice of ALL over ALB. Found all kinds of other material, reminders of why he is a real bibliographer and I’m a theatre-guy who digs quarto and folio variants. So I wrote to him. And yesterday, modeling the immense communal generosity I’ve found from most bibliographers, he replied. First off, I learned that his suggestion for ALL was from his unpublished second volume of the LEAR textual study. Oops. Second, Peter’s literary interpretation of Albany’s role, quite other than my own, led him to figure that of all the people on stage at that moment, Albany was the least likely to say about Edmund, “Save him.” Now, yes, Peter Blayney knows more about Early Modern printing than anyone in the bibliographical forest, but his opinions about Albany’s characteristics and whether or not Shakespeare might have given that line to Albany or to ALL are based solely on his taste, not his immense bibliographical acumen. 


In citing Blayney’s then (and still) unpublished speculation without his own clear explanation that the idea is indeed speculation, the Little Rascals Oxford/Norton editions throw lit-crit dust as if it were (like so much of Peter Blayney’s published bibliographic analysis) textual gold.  (I don’t mean to disparage literary critical ideas, but we really should separate them from verifiable textual fact. ALL in this case is a neat idea; ALB is a fact, or rather several facts in Q and F.)


Does Alb. / All matter all that much? As a director I say “yes.” It can, if you want to give the actor playing Albany yet another chance to demonstrate that Shakespeare is “working” this character richly, densely. I’d tell the actor, following my estimate of Albany quite different from Peter Blayney’s, “Okay, Albany wants Edmund defeated but still alive, so he can rub his nose with the incriminating letter intercepted and given to him before the battle by Edgar.” Ain’t very Christian, now. And I’d want to remind the actor (and our readers of SHAKSPER) that fully half of Albany’s speeches are vividly variant between Q and F but not this one. And that maybe Shakespeare himself played that role. Teach your students how to distinguish theory and evidence. Teach them to verify data. Teach them to love the frissons of characters (no matter if they be ALB or ALL) leaping unexpectedly into an ongoing action. “Irish harpers, learn your trade.” (You too, revision deniers.)



Steve Urkowitz

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